Gerard O'Daly
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199263950
- eISBN:
- 9780191741364
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199263950.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Poetry and Poets: Classical, Early, and Medieval
Prudentius is arguably the greatest Latin poet of late antiquity. This book provides the Latin text, a new English verse translation, and critical reviews on each of his twelve lyric poems, the ...
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Prudentius is arguably the greatest Latin poet of late antiquity. This book provides the Latin text, a new English verse translation, and critical reviews on each of his twelve lyric poems, the Cathemerinon, Poems for the Day, which were published early in the fifth century ad. They reflect the religious concerns of the increasingly Christianized western Roman Empire in the age of the emperor Theodosius and Ambrose of Milan, but they are above all the writings of a private person, and of the ways in which his religious beliefs colour his everyday life. Several of these poems follow the day's course, from pre-dawn to mealtime and nightfall. Others celebrate Christ's miracles, cult of the dead, and the feasts of Christmas and Epiphany. They are rich in biblical themes and narratives, images and symbols. But they are written in the classical metres of Latin poetry, use its vocabulary and metaphors, and exploit its themes as much as those of the Bible. They achieve a remarkable creative tension between the two worlds that determined Prudentius' culture: the beliefs and practices, sacred books and doctrines of Christianity, and the traditions, poetry, and ideas of the Greeks and Romans. A good part of the attractiveness of these poems comes from the interplay in Prudentius' reception of these two worlds.Less
Prudentius is arguably the greatest Latin poet of late antiquity. This book provides the Latin text, a new English verse translation, and critical reviews on each of his twelve lyric poems, the Cathemerinon, Poems for the Day, which were published early in the fifth century ad. They reflect the religious concerns of the increasingly Christianized western Roman Empire in the age of the emperor Theodosius and Ambrose of Milan, but they are above all the writings of a private person, and of the ways in which his religious beliefs colour his everyday life. Several of these poems follow the day's course, from pre-dawn to mealtime and nightfall. Others celebrate Christ's miracles, cult of the dead, and the feasts of Christmas and Epiphany. They are rich in biblical themes and narratives, images and symbols. But they are written in the classical metres of Latin poetry, use its vocabulary and metaphors, and exploit its themes as much as those of the Bible. They achieve a remarkable creative tension between the two worlds that determined Prudentius' culture: the beliefs and practices, sacred books and doctrines of Christianity, and the traditions, poetry, and ideas of the Greeks and Romans. A good part of the attractiveness of these poems comes from the interplay in Prudentius' reception of these two worlds.
Alexander Samely
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780199296736
- eISBN:
- 9780191712067
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199296736.003.0006
- Subject:
- Religion, Judaism
This chapter explains the importance of Scripture for the rabbinic world-view, using the analogy of modern sciences. The presence of the idea of ‘canon’ in rabbinic writings is discussed, and how ...
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This chapter explains the importance of Scripture for the rabbinic world-view, using the analogy of modern sciences. The presence of the idea of ‘canon’ in rabbinic writings is discussed, and how cutting Scripture down to segments makes it possible to appropriate biblical words for rabbinic themes is explained. It is suggested that the segments are treated as if they constituted the divine response in a conversation with the rabbis. Some common techniques of rabbinic Bible interpretation are listed.Less
This chapter explains the importance of Scripture for the rabbinic world-view, using the analogy of modern sciences. The presence of the idea of ‘canon’ in rabbinic writings is discussed, and how cutting Scripture down to segments makes it possible to appropriate biblical words for rabbinic themes is explained. It is suggested that the segments are treated as if they constituted the divine response in a conversation with the rabbis. Some common techniques of rabbinic Bible interpretation are listed.
Simon Morrison
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195181678
- eISBN:
- 9780199870806
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195181678.003.0009
- Subject:
- Music, History, Western
This chapter describes Prokofiev's gradual rehabilitation within the Stalinist cultural and political establishment, his successful fulfillment of commissions for pallid works on themes of youth ...
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This chapter describes Prokofiev's gradual rehabilitation within the Stalinist cultural and political establishment, his successful fulfillment of commissions for pallid works on themes of youth (notably Winter Bonfire and On Guard for Peace), and his collaborations with the cellist Mstislav Rostropovich. It also chronicles Prokofiev's hospitalizations and his solitary existence with his second wife Mira Mendelson in Nikolina Gora, where, in his final months, he conceived a series of works in the spirit of Bach. The chapter concludes with an assessment of Prokofiev's posthumous legacy.Less
This chapter describes Prokofiev's gradual rehabilitation within the Stalinist cultural and political establishment, his successful fulfillment of commissions for pallid works on themes of youth (notably Winter Bonfire and On Guard for Peace), and his collaborations with the cellist Mstislav Rostropovich. It also chronicles Prokofiev's hospitalizations and his solitary existence with his second wife Mira Mendelson in Nikolina Gora, where, in his final months, he conceived a series of works in the spirit of Bach. The chapter concludes with an assessment of Prokofiev's posthumous legacy.
Raymond P. Scheindlin
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780195315424
- eISBN:
- 9780199872039
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195315424.003.0002
- Subject:
- Religion, Judaism
Halevi’s work is partly a reaction to the deteriorating political and intellectual conditions of the time, the former undermining the Jewish claim to a special covenant with God, and the latter ...
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Halevi’s work is partly a reaction to the deteriorating political and intellectual conditions of the time, the former undermining the Jewish claim to a special covenant with God, and the latter portraying individual religions as mere social contrivances. The Kuzari grounds Jewish claims to special status on their gift for prophecy. In Halevi’s poetry, this status is expressed in themes of competition with Christianity and Islam. (The claim of Israel’s superiority complicated Halevi’s attitude toward Arabic-style Hebrew poetry, which he came to see as debasing the holy tongue; he probably did not, however, vow to abstain from writing poetry.) Halevi wrote extensive poetry dealing with the messianic redemption. But his pilgrimage was not a messianic gesture; rather, it reflects his embrace of quietism, the national counterpart to the theme of trust in God so prominent in his personal poetry. The chapter concludes with three poems that exemplify these themes.Less
Halevi’s work is partly a reaction to the deteriorating political and intellectual conditions of the time, the former undermining the Jewish claim to a special covenant with God, and the latter portraying individual religions as mere social contrivances. The Kuzari grounds Jewish claims to special status on their gift for prophecy. In Halevi’s poetry, this status is expressed in themes of competition with Christianity and Islam. (The claim of Israel’s superiority complicated Halevi’s attitude toward Arabic-style Hebrew poetry, which he came to see as debasing the holy tongue; he probably did not, however, vow to abstain from writing poetry.) Halevi wrote extensive poetry dealing with the messianic redemption. But his pilgrimage was not a messianic gesture; rather, it reflects his embrace of quietism, the national counterpart to the theme of trust in God so prominent in his personal poetry. The chapter concludes with three poems that exemplify these themes.
Jessica Waldoff
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195151978
- eISBN:
- 9780199870387
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151978.001.0001
- Subject:
- Music, Opera
Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Recognition — or anagnôrisis, Aristotle's term in the Poetics — is a moment of new awareness that ...
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Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Recognition — or anagnôrisis, Aristotle's term in the Poetics — is a moment of new awareness that brings about a crucial reversal in the action. Employing both literary and musical analysis, and drawing on critical thought from Aristotle to Terence Cave, this book explores the ways in which the themes of Mozart's operas — clemency, constancy, forgiveness, and other ideals cherished by late 18th-century culture — depend for their dramatization on recognition. Several of the operas culminate in a moment of climactic recognition, many involve the use of disguise, and all include scenes in which characters make significant realizations of identity, feeling, or purpose. Many turn explicitly on themes of knowledge, themes that possess a special resonance in an age that named itself the Enlightenment. A critical understanding of recognition in Mozart's operas reveals the late 18th-century culture of sensibility as an influential but uneasy presence in the age of enlightenment. At the same time, it opens up new ways of thinking about questions of cultural identity, conventions of ending, and the representation of cultural values in these works. Theoretical chapters are devoted to the concepts of recognition and plot; analytical chapters are devoted to Die Zauberflöte, La finta giardiniera, Don Giovanni, Così fan tutte, and La clemenza di Tito. Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro, and other works of Mozart and his contemporaries are also considered.Less
Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Recognition — or anagnôrisis, Aristotle's term in the Poetics — is a moment of new awareness that brings about a crucial reversal in the action. Employing both literary and musical analysis, and drawing on critical thought from Aristotle to Terence Cave, this book explores the ways in which the themes of Mozart's operas — clemency, constancy, forgiveness, and other ideals cherished by late 18th-century culture — depend for their dramatization on recognition. Several of the operas culminate in a moment of climactic recognition, many involve the use of disguise, and all include scenes in which characters make significant realizations of identity, feeling, or purpose. Many turn explicitly on themes of knowledge, themes that possess a special resonance in an age that named itself the Enlightenment. A critical understanding of recognition in Mozart's operas reveals the late 18th-century culture of sensibility as an influential but uneasy presence in the age of enlightenment. At the same time, it opens up new ways of thinking about questions of cultural identity, conventions of ending, and the representation of cultural values in these works. Theoretical chapters are devoted to the concepts of recognition and plot; analytical chapters are devoted to Die Zauberflöte, La finta giardiniera, Don Giovanni, Così fan tutte, and La clemenza di Tito. Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro, and other works of Mozart and his contemporaries are also considered.
Nikolas Gisborne
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199577798
- eISBN:
- 9780191722417
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199577798.003.0005
- Subject:
- Linguistics, Semantics and Pragmatics, Syntax and Morphology
This chapter discusses listen‐class verbs and hear‐class verbs in terms of the claim that one of the building blocks of conceptual or cognitive semantics is the spatial organisation of meaning. It ...
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This chapter discusses listen‐class verbs and hear‐class verbs in terms of the claim that one of the building blocks of conceptual or cognitive semantics is the spatial organisation of meaning. It also explores these verbs in terms of force dynamics and theories of agency. Related to these two areas of concern, the chapter investigates the semantic and lexical relationships between the two classes of verb and also discusses their Aktionsarten. One of the claims is that the senses of agentive look and see instantiate the same concept.Less
This chapter discusses listen‐class verbs and hear‐class verbs in terms of the claim that one of the building blocks of conceptual or cognitive semantics is the spatial organisation of meaning. It also explores these verbs in terms of force dynamics and theories of agency. Related to these two areas of concern, the chapter investigates the semantic and lexical relationships between the two classes of verb and also discusses their Aktionsarten. One of the claims is that the senses of agentive look and see instantiate the same concept.
Spiegler Ran
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195398717
- eISBN:
- 9780199896790
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195398717.003.0012
- Subject:
- Economics and Finance, Behavioural Economics
This chapter overviews themes that recur throughout the book: price complexity, spurious product differentiation, market transactions as a form of speculative trade, the role of consumer protection ...
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This chapter overviews themes that recur throughout the book: price complexity, spurious product differentiation, market transactions as a form of speculative trade, the role of consumer protection policies an other regulatory interventions, and the externalities between rational and boundedly rational consumersLess
This chapter overviews themes that recur throughout the book: price complexity, spurious product differentiation, market transactions as a form of speculative trade, the role of consumer protection policies an other regulatory interventions, and the externalities between rational and boundedly rational consumers
Bettelou Los
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199274765
- eISBN:
- 9780191705885
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199274765.003.0005
- Subject:
- Linguistics, Historical Linguistics
This chapter identifies a second set of ditransitive verbs: the verbs of commanding and permitting. Unlike the verbs of persuading and urging discussed in the Chapter 3, which have a thematic ...
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This chapter identifies a second set of ditransitive verbs: the verbs of commanding and permitting. Unlike the verbs of persuading and urging discussed in the Chapter 3, which have a thematic structure of AGENT, THEME, and GOAL, the verbs of commanding and permitting have a thematic structure of AGENT, RECIPIENT, and THEME. The different roles are clear from the different cases that express them: THEMES are expressed by accusative NPs, and RECIPIENTS by dative NPs. Verbs of commanding and permitting have two ‘variants’, a three-place and a two-place one. This is not an accidental, idiosyncratic lexical property of these verbs, but a structural feature connected with the basic meanings of this group. It is precisely this structural feature of the verbs of commanding and permitting that is responsible for the appearance of the first to-infinitival ECMs in Middle English.Less
This chapter identifies a second set of ditransitive verbs: the verbs of commanding and permitting. Unlike the verbs of persuading and urging discussed in the Chapter 3, which have a thematic structure of AGENT, THEME, and GOAL, the verbs of commanding and permitting have a thematic structure of AGENT, RECIPIENT, and THEME. The different roles are clear from the different cases that express them: THEMES are expressed by accusative NPs, and RECIPIENTS by dative NPs. Verbs of commanding and permitting have two ‘variants’, a three-place and a two-place one. This is not an accidental, idiosyncratic lexical property of these verbs, but a structural feature connected with the basic meanings of this group. It is precisely this structural feature of the verbs of commanding and permitting that is responsible for the appearance of the first to-infinitival ECMs in Middle English.
Paul M. Pietroski
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199244300
- eISBN:
- 9780191714153
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199244300.003.0003
- Subject:
- Linguistics, Semantics and Pragmatics
Conjunctivism is preferable to Functionism, even for many cases of verbs combining with arguments. Conjunctivists can provide an attractive account of causative constructions, like ‘Pat boiled the ...
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Conjunctivism is preferable to Functionism, even for many cases of verbs combining with arguments. Conjunctivists can provide an attractive account of causative constructions, like ‘Pat boiled the soup’, and related unaccusative constructions, like ‘The soup boiled’. Functionist alternatives are more complex and less explanatory; they invite skepticism about decomposition and fail to cohere with the constraints on how thematic roles are related to syntactic structure. The Conjunctivist proposal can be extended, in an empirically motivated way, to serial verb constructions that pose serious challenges to Functionism. Verbs that take sentential complements are easily accommodated. Moreover, Conjunctivists can say that complementizer phrases differ thematically from other arguments. This makes it possible to resolve certain puzzles involving speech-act verbs (in English and other languages). Functionists face difficulties in saying how such verbs semantically compose with arguments.Less
Conjunctivism is preferable to Functionism, even for many cases of verbs combining with arguments. Conjunctivists can provide an attractive account of causative constructions, like ‘Pat boiled the soup’, and related unaccusative constructions, like ‘The soup boiled’. Functionist alternatives are more complex and less explanatory; they invite skepticism about decomposition and fail to cohere with the constraints on how thematic roles are related to syntactic structure. The Conjunctivist proposal can be extended, in an empirically motivated way, to serial verb constructions that pose serious challenges to Functionism. Verbs that take sentential complements are easily accommodated. Moreover, Conjunctivists can say that complementizer phrases differ thematically from other arguments. This makes it possible to resolve certain puzzles involving speech-act verbs (in English and other languages). Functionists face difficulties in saying how such verbs semantically compose with arguments.
Ron Rodman
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195340242
- eISBN:
- 9780199863778
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340242.003.0005
- Subject:
- Music, Popular, History, American
This chapter traces how television music imparts meaning from its borrowing of cinematic musical techniques, in particular, cinematic leitmotif. The televisual leitmotif, which often is derived from ...
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This chapter traces how television music imparts meaning from its borrowing of cinematic musical techniques, in particular, cinematic leitmotif. The televisual leitmotif, which often is derived from a program's theme music, is a special kind of musical topic that references aspects of the televisual narrative by denoting a specific character or situation in a program while also connoting traits of characters or moods of the narrative. This dual signification of a single musical idea draws from Charles Morris's conception of “ascription.” Because television programs are so ephemeral, musical meaning relies on the ability of the leitmotif to signify in several modes of signification and through extensive repetition of the leitmotif within a single episode as well as through weekly programming. To illustrate the ascriptive power of the leitmotif, the chapter provides an analysis of Gerald Fried's music to the episode “Shore Leave” from the original Star Trek series.Less
This chapter traces how television music imparts meaning from its borrowing of cinematic musical techniques, in particular, cinematic leitmotif. The televisual leitmotif, which often is derived from a program's theme music, is a special kind of musical topic that references aspects of the televisual narrative by denoting a specific character or situation in a program while also connoting traits of characters or moods of the narrative. This dual signification of a single musical idea draws from Charles Morris's conception of “ascription.” Because television programs are so ephemeral, musical meaning relies on the ability of the leitmotif to signify in several modes of signification and through extensive repetition of the leitmotif within a single episode as well as through weekly programming. To illustrate the ascriptive power of the leitmotif, the chapter provides an analysis of Gerald Fried's music to the episode “Shore Leave” from the original Star Trek series.
Bernard Schweizer
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199751389
- eISBN:
- 9780199894864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199751389.003.0001
- Subject:
- Religion, Philosophy of Religion
This chapter offers a sweeping historical overview of misotheism. The major stopping points along this compelling history of ideas are: the Book of Job, Epicurus, Ovid, St. Augustine, Thomas Paine, ...
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This chapter offers a sweeping historical overview of misotheism. The major stopping points along this compelling history of ideas are: the Book of Job, Epicurus, Ovid, St. Augustine, Thomas Paine, James Mill, Ludwig Feuerbach, Karl Marx, Pierre-Joseph Proudhon, Michael Bakunin, Peter Kropotkin, Friedrich Nietzsche, Elizabeth Cady Stanton, Virginia Woolf, Storm Jameson, Naomi Goldenberg, Rosemary Ruether, Sigmund Freud, Albert Camus, William Empson, and Gore Vidal. The author documents the genealogy of God-hatred from the trial-of-God theme in the Book of Job, to Epicureanism, deism, utilitarianism, anarchism, feminism, and secular humanism.Less
This chapter offers a sweeping historical overview of misotheism. The major stopping points along this compelling history of ideas are: the Book of Job, Epicurus, Ovid, St. Augustine, Thomas Paine, James Mill, Ludwig Feuerbach, Karl Marx, Pierre-Joseph Proudhon, Michael Bakunin, Peter Kropotkin, Friedrich Nietzsche, Elizabeth Cady Stanton, Virginia Woolf, Storm Jameson, Naomi Goldenberg, Rosemary Ruether, Sigmund Freud, Albert Camus, William Empson, and Gore Vidal. The author documents the genealogy of God-hatred from the trial-of-God theme in the Book of Job, to Epicureanism, deism, utilitarianism, anarchism, feminism, and secular humanism.
Ronald W. Langacker
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195331967
- eISBN:
- 9780199868209
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331967.003.0011
- Subject:
- Linguistics, Syntax and Morphology
A full clause profiles a grounded instance of a process type. Conceptual archetypes function as the prototypical values of basic clause types and clausal elements. Languages naturally differ in their ...
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A full clause profiles a grounded instance of a process type. Conceptual archetypes function as the prototypical values of basic clause types and clausal elements. Languages naturally differ in their implementation of this general characterization, and within a language clauses are varied and complex. Subject and object are defined schematically as trajector and landmark, i.e. primary and secondary focal participant. In most languages a particular semantic role represents the typical choice of trajector: either agent or theme (a patient-like participant). Each is the starting point along a natural path: the path of energy flow in the case of agent, and a path based on conceptual autonomy in the case of theme. In varied proportions and for different grammatical phenomena, every language makes some use of these two basic strategies. This is the basis for nominative/accusative, ergative/absolutive, and agent/patient organization. It can be argued that subject is a grammatical universal when defined abstractly in terms of primary focal prominence. In addition to the most typical clausal organization, every language offers a variety of alternatives for special purposes. Voice alternations (such as active, passive, and middle) pertain to the semantic role of the participant focused as trajector. The trajector can also be a non-participant, e.g. a setting or location. There is comparable variation in the choice of landmark, resulting in different kinds of objects. In agent-oriented languages, clauses which choose the theme as trajector represent an important secondary option. The verb of a clause is often complex. In addition to incorporating nominal or adverbial elements, the verb can exhibit layers of morphological derivation, be a phrase instead of a single word, or even consist in a series of verb-like elements.Less
A full clause profiles a grounded instance of a process type. Conceptual archetypes function as the prototypical values of basic clause types and clausal elements. Languages naturally differ in their implementation of this general characterization, and within a language clauses are varied and complex. Subject and object are defined schematically as trajector and landmark, i.e. primary and secondary focal participant. In most languages a particular semantic role represents the typical choice of trajector: either agent or theme (a patient-like participant). Each is the starting point along a natural path: the path of energy flow in the case of agent, and a path based on conceptual autonomy in the case of theme. In varied proportions and for different grammatical phenomena, every language makes some use of these two basic strategies. This is the basis for nominative/accusative, ergative/absolutive, and agent/patient organization. It can be argued that subject is a grammatical universal when defined abstractly in terms of primary focal prominence. In addition to the most typical clausal organization, every language offers a variety of alternatives for special purposes. Voice alternations (such as active, passive, and middle) pertain to the semantic role of the participant focused as trajector. The trajector can also be a non-participant, e.g. a setting or location. There is comparable variation in the choice of landmark, resulting in different kinds of objects. In agent-oriented languages, clauses which choose the theme as trajector represent an important secondary option. The verb of a clause is often complex. In addition to incorporating nominal or adverbial elements, the verb can exhibit layers of morphological derivation, be a phrase instead of a single word, or even consist in a series of verb-like elements.
Alessandro Barchiesi
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691161815
- eISBN:
- 9781400852482
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161815.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter considers some of the narrative strategies and their relative effects of sense in the Aeneid. What matters here is grasping the specific way the complexity of cultural presuppositions ...
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This chapter considers some of the narrative strategies and their relative effects of sense in the Aeneid. What matters here is grasping the specific way the complexity of cultural presuppositions (and their interactions) acts in reading as a source of complex meanings—that is, tightening the link between the density of literary signification and the multitude of implied models. This chapter marks out the elusive pathway that unites two discursive manifestations in Vergil's epic poetry which are quite distinct from one another: an ideological contradiction and a narrative “polyphony.” It then concludes with the form and workmanship of a “pluri-isotopic” narrative text.Less
This chapter considers some of the narrative strategies and their relative effects of sense in the Aeneid. What matters here is grasping the specific way the complexity of cultural presuppositions (and their interactions) acts in reading as a source of complex meanings—that is, tightening the link between the density of literary signification and the multitude of implied models. This chapter marks out the elusive pathway that unites two discursive manifestations in Vergil's epic poetry which are quite distinct from one another: an ideological contradiction and a narrative “polyphony.” It then concludes with the form and workmanship of a “pluri-isotopic” narrative text.
Bruce Heiden
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195341072
- eISBN:
- 9780199867066
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195341072.003.0006
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter begins with a theoretical synopsis of the previous chapters that emphasizes the underdetermination of themes and its relationship to the choices of the agents in the story. It continues ...
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This chapter begins with a theoretical synopsis of the previous chapters that emphasizes the underdetermination of themes and its relationship to the choices of the agents in the story. It continues investigation of analogous themes in segments of analogous position in the three-cycle design, focusing especially upon the quarrel between Achilles and Agamemnon in book 1 and the embassy in book 9. Analysis shows that while Agamemnon offers Achilles quantities of tangible goods, Achilles conceives of the wrong done him as a violation of trust rather than material loss. For Achilles, the value of a thing is the symbolism it acquires through choice. This disagreement elaborates alternative conceptions of honor, as either gift symbolic of friendly regard (Achilles) or payment demanded by a superior (Agamemnon).Less
This chapter begins with a theoretical synopsis of the previous chapters that emphasizes the underdetermination of themes and its relationship to the choices of the agents in the story. It continues investigation of analogous themes in segments of analogous position in the three-cycle design, focusing especially upon the quarrel between Achilles and Agamemnon in book 1 and the embassy in book 9. Analysis shows that while Agamemnon offers Achilles quantities of tangible goods, Achilles conceives of the wrong done him as a violation of trust rather than material loss. For Achilles, the value of a thing is the symbolism it acquires through choice. This disagreement elaborates alternative conceptions of honor, as either gift symbolic of friendly regard (Achilles) or payment demanded by a superior (Agamemnon).
Bruce Heiden
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195341072
- eISBN:
- 9780199867066
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195341072.003.0007
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter turns the investigation of thematic trajectories to books 8 and 15, the last segments of the first and second cycles respectively. These are the books that narrate Zeus's critical ...
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This chapter turns the investigation of thematic trajectories to books 8 and 15, the last segments of the first and second cycles respectively. These are the books that narrate Zeus's critical choices in steering events, and whose position cues attention to Zeus's consequential agency. In these books the Olympians face off in conflict, as the heroes do in other books. But analysis of the thematic trajectories shows that the Olympians prove wiser than the heroes at transforming their differences into symbolic terms that facilitate compromise.Less
This chapter turns the investigation of thematic trajectories to books 8 and 15, the last segments of the first and second cycles respectively. These are the books that narrate Zeus's critical choices in steering events, and whose position cues attention to Zeus's consequential agency. In these books the Olympians face off in conflict, as the heroes do in other books. But analysis of the thematic trajectories shows that the Olympians prove wiser than the heroes at transforming their differences into symbolic terms that facilitate compromise.
STEPHEN BANN
- Published in print:
- 2011
- Published Online:
- January 2013
- ISBN:
- 9780197264942
- eISBN:
- 9780191754111
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264942.003.0010
- Subject:
- History, British and Irish Modern History
This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving ...
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This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving Tudors and Stuarts: Paul Delaroche. It argues that the pronounced nineteenth-century French interest in sixteenth- and seventeenth-century English history was a form of displacement, so that Delaroche's painting of the execution of Lady Jane Grey (1834), for example, opened up for the French viewer a space in which to negotiate memories of the Terror within the relative comfort of a more distant and foreign historical moment.Less
This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving Tudors and Stuarts: Paul Delaroche. It argues that the pronounced nineteenth-century French interest in sixteenth- and seventeenth-century English history was a form of displacement, so that Delaroche's painting of the execution of Lady Jane Grey (1834), for example, opened up for the French viewer a space in which to negotiate memories of the Terror within the relative comfort of a more distant and foreign historical moment.
J. K. Elliott (ed.)
- Published in print:
- 1993
- Published Online:
- November 2003
- ISBN:
- 9780198261827
- eISBN:
- 9780191600562
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198261829.001.0001
- Subject:
- Religion, Biblical Studies
An English translation of the oldest and most important early Christian non‐canonical writings. It is based on the earlier collection edited in 1924 by Montague Rhodes James. The book is divided into ...
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An English translation of the oldest and most important early Christian non‐canonical writings. It is based on the earlier collection edited in 1924 by Montague Rhodes James. The book is divided into the conventional categories of gospels, acts, epistles, and revelatory texts. A long subsection deals with stories of Jesus’ infancy and childhood. Another section deals with fragmentary gospel texts on papyrus. The bulk of the book is given over to second‐century legends of individual apostles. Another section covers apocryphal acpocalypses. An appendix gives a selection of stories about the Virgin Mary's assumption and dormition. Each translated text is prefaced with an introduction and select bibliography. Full indexes of citations and themes are provided.Less
An English translation of the oldest and most important early Christian non‐canonical writings. It is based on the earlier collection edited in 1924 by Montague Rhodes James. The book is divided into the conventional categories of gospels, acts, epistles, and revelatory texts. A long subsection deals with stories of Jesus’ infancy and childhood. Another section deals with fragmentary gospel texts on papyrus. The bulk of the book is given over to second‐century legends of individual apostles. Another section covers apocryphal acpocalypses. An appendix gives a selection of stories about the Virgin Mary's assumption and dormition. Each translated text is prefaced with an introduction and select bibliography. Full indexes of citations and themes are provided.
Margaret Notley
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195305470
- eISBN:
- 9780199866946
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305470.003.0004
- Subject:
- Music, History, Western
This chapter critiques Adorno's observation that Brahms “bears the mark of middle-class society's individualistic phase” (late Liberalism) as against the vision expressed in Beethoven's music. ...
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This chapter critiques Adorno's observation that Brahms “bears the mark of middle-class society's individualistic phase” (late Liberalism) as against the vision expressed in Beethoven's music. Elsewhere, Adorno implied another perspective: Brahms understood the musical problem, individualized themes at the expense of the formal whole — if not the societal problem (excessive individualism) — and made it central to his lifework. Jenner's account of lessons with Brahms suggests an ethics of composition, supporting meaning found in theme-form relations by Adorno, Gülke, and others who view sonata form in Hegelian terms. In late movements, Brahms's handles theme-form relations by problematizing the formation of a theme and creating new oppositions to replace that between thematic and non-thematic material available to Beethoven but not to him. For Brahms and Adorno, inventing and developing an idea relate to each other in compositional process as themes and schema do in formal process: the relationship is mutual and dynamic.Less
This chapter critiques Adorno's observation that Brahms “bears the mark of middle-class society's individualistic phase” (late Liberalism) as against the vision expressed in Beethoven's music. Elsewhere, Adorno implied another perspective: Brahms understood the musical problem, individualized themes at the expense of the formal whole — if not the societal problem (excessive individualism) — and made it central to his lifework. Jenner's account of lessons with Brahms suggests an ethics of composition, supporting meaning found in theme-form relations by Adorno, Gülke, and others who view sonata form in Hegelian terms. In late movements, Brahms's handles theme-form relations by problematizing the formation of a theme and creating new oppositions to replace that between thematic and non-thematic material available to Beethoven but not to him. For Brahms and Adorno, inventing and developing an idea relate to each other in compositional process as themes and schema do in formal process: the relationship is mutual and dynamic.
Carole E. Newlands
- Published in print:
- 2002
- Published Online:
- September 2007
- ISBN:
- 9780198154754
- eISBN:
- 9780191715457
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198154754.003.0010
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter reads in the anecdote of Vedius Pollio’s house (F. 6. 637-48) four overlapping themes: an appropriate conclusion to a day that begins in pre-Roman Italy, moves to the regal period, and ...
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This chapter reads in the anecdote of Vedius Pollio’s house (F. 6. 637-48) four overlapping themes: an appropriate conclusion to a day that begins in pre-Roman Italy, moves to the regal period, and ends in the Augustan present; a dramatic reification of Augustus’ attempt to give June 11 new meaning as a day honouring his wife and imperial family; the beginning of a moralizing tradition of the harmfulness of luxury and true authority of fine leadership, evident later in Dio and Seneca; and a shifting resignification of the site from the palace of Servius Tullius to Vedius’ Pollio’s house to Livia’s Porticus, vivid illustration of the way in which Augustus redrew the map of Rome.Less
This chapter reads in the anecdote of Vedius Pollio’s house (F. 6. 637-48) four overlapping themes: an appropriate conclusion to a day that begins in pre-Roman Italy, moves to the regal period, and ends in the Augustan present; a dramatic reification of Augustus’ attempt to give June 11 new meaning as a day honouring his wife and imperial family; the beginning of a moralizing tradition of the harmfulness of luxury and true authority of fine leadership, evident later in Dio and Seneca; and a shifting resignification of the site from the palace of Servius Tullius to Vedius’ Pollio’s house to Livia’s Porticus, vivid illustration of the way in which Augustus redrew the map of Rome.
T. P. Wiseman
- Published in print:
- 2002
- Published Online:
- September 2007
- ISBN:
- 9780198154754
- eISBN:
- 9780191715457
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198154754.003.0012
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Careful investigation of the contemporary evidence (mainly Cicero) suggests that mime was a major part of the theatrical repertory at the Roman games in the first century BC, and that mythological ...
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Careful investigation of the contemporary evidence (mainly Cicero) suggests that mime was a major part of the theatrical repertory at the Roman games in the first century BC, and that mythological burlesque was one of its regular themes. With this in mind, and building on the one piece of direct evidence (Fasti 4.326), it is possible to reconstruct hypothetical stage originals for various episodes in both the Fasti and the Metamorphoses.Less
Careful investigation of the contemporary evidence (mainly Cicero) suggests that mime was a major part of the theatrical repertory at the Roman games in the first century BC, and that mythological burlesque was one of its regular themes. With this in mind, and building on the one piece of direct evidence (Fasti 4.326), it is possible to reconstruct hypothetical stage originals for various episodes in both the Fasti and the Metamorphoses.
